•\YA.  PROPER  IIGHT 

OH  PR  ACTTCA  L 


M A KING 


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HOW  TO 
MAKE 

PAINT 


“The  QUALITY  of  which 
will  be  remembered  long  after 
tbe  PRICE  is  forgotten.'' 


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COPYRIGHT  BY 
HENRY  M.  TOCH 
I9°4 


PRESS  OF  STETTINER  BROS 
NEW  YORK 


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^ Paint  ilaktrs 

J anil  (Sriniiprs 


;NE  must  be  thoroughly 
posted  on  three  import- 
ant points  in  order  to 
make  good  paint.  First, 
the  knowledge  of  the 
combination  of  the  dry  pigment  and 
vehicle.  Second,  the  knowledge  of  the 
nature  and  properties  of  the  dry  pig- 
ment. Third,  the  nature  and  resulting 
effects  of  the  vehicle. 

We  shall  attempt  to  guide  you  on  the 
second  and  third  subjects,  and  offer  our 
guidance  on  the  first  subject  to  all  those 
who  find  it  to  their  advantage  and  in- 
terest to  purchase  of  us  dry  pigments 
and  vehicles.  We  shall  attempt  to  de- 
scribe what  our  dry  pigments  are,  and  to 
what  uses  they  can  be  put,  and  the  great 
importance  the  vehicles  play  in  the  man- 
ufacture of  good  paint. 

Our  laboratory,  shown  by  the  accom- 
panying picture,  whence  emanate  the 
analyses  of  paints  and  formulae  for  paint- 
making, is  at  the  disposal  of  those  who 
favor  us  with  their  valued  orders  for  raw 
materials,  varnish  and  japan  specialties. 

Our  works,  located  at  52-62  Ninth 
Street,  Long  Island  City,  are  as  com- 
plete for  color  making,  as  well  as  var- 
nish and  japan  specialties,  as  any  in  the 
United  States,  and  we  respectfully  re- 
quest an  opportunity  to  demonstrate  this. 


113  A DROP  BLACK. 


THIS  is  a pure  sheep-bone  black  in  the 
manufacture  of  which  we  select  the  skull 
and  shin-bone  only;  these  being  the 
hardest  and  making  the  densest  black.  This 
article  is  especially  prepared  with  a view  of 
attaining  the  best  results  for  japan  and  oil  paint 
grinding.  So  scientifically  is  it  prepared  that 
it  grinds  in  at  least  10  per  cent,  less  shellac- 
japan  than  any  other  on  the  market;  remains 
permanent;  has  great  strength,  and  is  guaran- 
teed to  be  absolutely  free  from  carbon,  Prussian 
Blue  or  aniline  dyes.  Grinders  can  add  these 
as  they  see  fit,  according  to  their  own  judgment. 
Price  of  this  is  6c.  per  lb.  in  ton  lots.  Packed 
in  casks  weighing  about  450  lbs. 


THIS  SAMPLE  IS  THE  ACTUAL  SHADE  OF  THE  COLOR,  IT  BE- 
ING MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


13 


14 


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r> 

PARIS  BLACK  NO.  94. 


THIS  is  a high-grade  carbon  black,  suitable 
for  mixed  paint  making  and  grinding  in 
oil.  It  is  very  powerful  and  extremely 
fine.  Price  of  this  is  6c.  per  lb.  in  ton  lots. 

NOTE. — We  import  and  manufacture  a full 
line  of  Vine,  Mineral,  Wood  Blacks,  etc. 


this  sample  is  the  actual  shade  of  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


15 


No.  137  OXIDE. 


I 'HIS  is  an  excellent  and  powerful  oxide, 
1 used  primarily  in  making  red  oxide 
mixed  paints.  It  is  also  an  excellent 
pigment  for  the  manufacture  of  brick-red,  and 
will  stand  considerable  reduction.  The1  tone  is 
slightly  bluish.  The  color  is  prepared  in  the 
most  careful  way,  making  it  easy  to  grind. 
Grinders  who  have  adopted  this  color  have  had 
great  success,  more  particularly  for  bridge  and 
structural  paints,  owing  to  the  great  covering 
capacity  and  permanency  of  the  color.  Price 
of  this  is  3 l-2c.  per  lb.  in  ton  lots.  It  is  not  af- 
fected by  sulphur  gases. 


this  sample  is  the  actual  shade  of  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


16 


i^HiS  is  an  excellent  and  powerful  oxide, 
used  primarily  in  making  red  oxide 
mixed  paints.  It  is  also  an  excellent 
pip '-it  for  the  manufacture  of  brick-red.  and 
considerable  reduction.  The  tone  is 
••'hjr ly  bluish.  The  color  is  prepared  in  Uv 
careful  way,  making  it  easy  to  grind. 
< b inders  wao  have  adopted  this  color  have  had 
great  success,  more  particularly  for  bridge  and 
structural  paints,  owing  to  the  great  covering 

i ermanency  of  the  color  Price 
of  this  i$  3 i 2c.  per  lb,  in  ton  lots,  it  ;s  not  af- 
fected by  sulphur  gases. 


fritS  SAMPLE  IS  THE  ACTUAL  SHADE  OF  THE  COLOR,  IT  BE 
=•  r.  „ A MATURE  C*  WATER  \ND  * ! II  . £-  O <T* 

1 IWWIUNI  * MraMM  ^ ■ NliRm'f  I 4NPB Mi 


r . 

K\  \ 

! . ■ *• 


No.  178  OXIDE. 


THIS  has  much  the  same  properties  and  na- 
ture as  the  No.  137,  the  difference  being 
that  it  tones  to  the  yellow,  which  is  very 
much  sought  by  many  grinders.  For  Paper, 
Plaster  and  Cement  Staining  this  color  has 
many  advantages. 


this  sample  is  the  actual  shade  op  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


1 7 


i8 


No.  402  OXIDE. 


THIS  is  a beautiful  maroon  shade  of  oxide, 
on  the  Tuscan  order,  containing  96  per 
cent,  of  iron.  It  can  be  colored  with 
our  Tuscan  Toner,  making  it  a desirable  pig- 
ment for  japan  or  sign  work.  Price  of  this  is 
6 l-2c.  per  lb.  in  ton  lots. 


this  sample  is  the  actual  shade  of  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


.1 


19 


No.  465  PERMANENT  CARDINAL 


RED. 


THIS  is  the  first  of  the  series  of  permanent 
cardinal  reds  that  was  offered  in  this 
country,  and  we  have  had  great  success 
with  it.  A number  of  our  customers  are  grind- 
ing it  and  supplying  railroad,  wagon,  carriage 
and  sign  painters.  It  is  very  brilliant  and  soft, 
grinds  easily  and  remains  soft.  The  color  is 
similar  to  Deep  English  Vermilion  glazed  with 
carmine.  It  is  used  in  making  deep  shades  of 
Ready  Mixed  Vermilion,  also  Ready  Mixed 
wagon  paints  containing  varnish.  This  same 
dye  can  be  precipitated  on  a cheaper  base  where 
low  price  is  desired.  The  paint,  however,  on 
that  base  would  be  different  from  the  one  con- 
taining the  465  Perm.  Card,  inasmuch  as  it  will 
not  be  so  brilliant  or  lasting  a paint.  We 
would  recommend  that  where  this  color  is  de- 
sirable but  cannot  be  used  on  account  of  price, 
that  you  use  in  conjunction  with  this  our  Lake 
Base,  which  is  described  later  on.  Price  of  the 
No.  465  Perm.  Cardinal  is  23c.  per  lb. 


THIS  SAMPLE  IS  THE  ACTUAL  SHADE  OF  THE  COLOR,  IT  BE- 
ING MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


20 


21 


No.  341  HYPERNIC  MAROON. 


THIS  is  a Bordeux  or  wine  color  made  from 
the  extract  of  alcanet  root.  It  is  very 
desirable  for  oil  color  grinding,  mixing 
varnish  stains  and  colored  lacquers.  Price  of 
this  is  25c.  per  lb.  It  is  also  used  for  grinding 
in  distemper  for  fresco  and  decorative  work. 


THIS  SAMPLE  IS  THE  ACTUAL  SHADE  OE  THE  COLOR,  IT  BE- 
ING MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


22 


No.  454  COCHINEAL  LAKE. 


THIS  is  very  useful  for  similar  purposes  as 
the  Hypernic  Maroon,  and  is  also  used 
for  making  calcimine  tints.  This,  how- 
ever, is  more  of  an  analine  than  a wood  extract, 
although  it  contains  a certain  percentage  of 
Brazil  wood.  Price  of  this  is  14c.  per  lb. 


this  sample  is  the  actual  shade  of  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


« 


23 


24 


TUSCAN  TONER. 


THIS  is  a powerful  concentrated  dye  to 
color  Indian  Red  and  oxides  generally, 
also  for  grinding  in  oil.  It  remains  per- 
manent. 


this  sample  is  the  actual  shade  op  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OP  WATER  AND  A LITTLE  GLUE. 


25 


26 


YELLOW  LAKE  00 


THIS  is  a brilliant  yellow  for  grinding  in  oil 
and  japan,  and  glazing,  or  mixing  in 
Prussian  and  Chinese  blue  for  making 
forest-green  varnish  stain.  Also  used  as  a 
decorative  color  when  ground  in  distemper.  It 
is  made  from  the  extract  of  Quer  Citron. 


THIS  SAMPLE  IS  THE  ACTUAL  SHADE  OF  THE  COLOR,  IT  BE- 
ING MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE 


27 


MILORI  YELLOW. 


THIS  is  a powerful  high  grade  of  chrome 
yellow,  made  on  the  order  of  litho- 
graphic yellow.  Where  grinders  are 
desirous  of  producing  clearly  brilliant  yellow 
they  will  find  it  to  their  advantage  to  use  this 
grade.  They  do  not  possess  the  muddy  tones 
so  prevalent  in  chrome  yellows.  Price  of  this 
is  14 >4c.  per  lb.  We  have  this  in  medium, 
orange  and  dark-orange  shades,  the  dark  orange 
being  16c.  per  lb. 


THIS  SAMPLE  IS  THE  ACTUAL  SHADE  OF  THE  COLOR,  IT  BE- 
ING MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


28 


29 


30 


r 


■ ' " ' -‘A 

•\K  - ■ ' : ‘ ‘ 


CHINESE  BLUE. 


IN  offering  this  blue  we  feel  confident  that  the 
grinder  who  is  desirous  of  making  a deli- 
cate blue  tint  will  find  the  article  he  has 
been  in  search  of.  It  took  many  years  to  pro- 
duce this  color,  which  is  totally  free  from  the 
gray  or  lavender  so  common  among  the  Chi- 
nese blues  generally  offered.  Price,  market. 


this  sample  is  the  actual  shade  of  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


31 


TYROL  VERMILION. 


THIS  beautiful  color  is  a unique  prepara- 
tion, remaining  soft  when  ground  in  oil 
or  japan,  thus  making  it  very  desirable 
for  ready  mixed  wagon  paints  containing  varnish. 
In  shade  it  resembles  the  genuine  English  Ver- 
milion light,  and  in  wearing  quality  we  consider 
it  superior.  The  base  used  for  making  this 
color  is  the  highest  grade  of  foreign  orange 
Mineral,  and  will  give  universal  satisfaction. 
Price  of  this  is  22c.  per  lb. 

Dozens  of  various  shades  of  colors  can  be 
produced  for  japan  color  grinding  by  mixture 
of  the  various  lakes  of  the  foregoing  descrip- 
tion in  proportions  to  suit  yourselves. 


THIS  SAMPLE  IS  THE  ACTUAL  SHADE  OF  THE  COLOR.  IT  BE- 
ING MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


32 


OLEUM  WHITE. 


THIS  white  was  introduced  by  us  in  1 886, 
and  we  believe  that  we  were  the  first  to 
offer  it  in  this  country.  Although  liber- 
ally used  in  Germany,  England  and  France, 
paint  makers  in  this  country  have  not  adopted  it 
so  readily,  although  we  have  among  our  cus- 
tomers a number  of  standard  concerns  who  use 
it.  It  is  a sulphide  Zinc  commonly  known  as 
Lithopone,  the  difference,  however,  being  that  it 
contains  our  Lake  Base  (Blanc  Fixe),  which 
makes  it  fluffier  and  softer  white  than  any  other 
on  the  market.  Table  oilcloth,  Toy  Tinware 
and  Frame  Manufacturers  have  met  with  great 
success,  as  have  enamel-paint  makers,  who  have 
followed  our  instruction  by  using  an  enamel 
varnish  made  by  us,  which  is  free  from  lead. 
Care  should  be  taken  that  lead  in  no  form  what- 
ever comes  in  contact  with  it,  as  it  forms  lead 
sulphide.  It  contains  about  32  per  cent,  of 
Zinc,  nevertheless  it  is  three  times  as  strong  as 
Zinc  Oxide  of  100  per  cent,  purity  and  much 
more  opaque. 


this  sample  is  the  actual  shade  oe  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OE  WATER  AND  A LITTLE  GLUE. 


33 


34 


No.  458  MADDER  LAKE 

A BEAUTIFUL  red  strong  color  made  from 
the  Alizarine  dye,  used  for  high-class 

japan  color  grinding,  as  well  as  fresco 
and  decorative  work. 


rj™  THE  ACTUAL  SHADE  OP  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


35 


V 


ENGLISH  ROSE  LAKE. 

BEAUTIFUL,  rich,  strong  color,  suitable 
for  grinding  in  japan  and  oil  and  for 
decorative  work.  Made  partly  of  wood 
extracts  and  partly  of  aniline  dyes.  Will 
stand  much  reducing  where  a particular  color 
of  this  shade  is  wanted  at  a low  price. 


THIS  SAMPLE  IS  THE  ACTUAL  SHADE  OE  THE  COLOR,  IT  BE- 
ING MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


36 


TURQUOISE  BLUE. 


SOMETIMES  called  Riviera  Blue.  This  is 
made  to  take  the  place  of  the  old  Bre- 
men Blues  or  Verditer  Blues  in  which 
copper  was  so  largely  used  in  their  manufac- 
ture, being  made  of  a base  dyed  with  delicate 
anilines.  It  is  not  suitable  for  grinding  in  oil, 
but  very  desirable  as  a fresco,  distemper  or 
scenic  color. 


this  sample  is  the  actual  shade  of  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


37 


VERY  rich  in  tone,  suitable  for  carriage 
work  to  be  ground  in  japan  and  for 
fresco  and  scenic  work. 


THIS  SAMPLE  IS  THE  ACTUAL  SHADE  OF  THE  COLOR,  IT  BE- 
ING MADE  BY  A MIXTURE  OF  WATER  AND  A LITTLE  GLUE. 


LAKE  BASE. 


THIS  wonderful  article  was  introduced  by 
us  in  the  dry  state  some  years  ago, 
though  it  had  been  known  and  used  in 
pulp  form  by  French  and  English  color  makers. 
We  conceived  the  idea  of  offering  it  dry  after 
thoroughly  washing  and  drying  at  low  tem- 
peratures, and  can  safely  say  that  there  are  but 
few  high-class  paint  manufacturers  in  this  coun- 
try where  this  material  is  not  found  as  portion 
of  their  formulae.  Let  us  take,  for  instance, 
the  manufacture  of  enamel  paint.  If  10  per 
cent,  of  Lake  Base  is  used,  it  is  the  means  of 
keeping  the  zinc,  varnish  or  the  oleum  white  in 
suspension  so  that  the  least  shaking  of  the  can 
makes  the  paint  ready  for  use.  In  japan  color 
grinding  a percentage  of  from  5 to  10  per  cent, 
will  keep  the  japan  color  softer  much  longer 
than  when  the  material  is  omitted.  The  prod- 


this  sample  is  the  actual  shade  oe  the  color,  it  be- 
ing MADE  BY  A MIXTURE  OP  WATER  AND  A LITTLE  GLUE. 

— 


39 


uct  is  inert  and  has  absolutely  no  body,  so  that 
one  can  safely  add  about  20  per  cent,  of  the 
material  to  any  given  color  and  the,  naked  eye 
cannot  detect  that  the  material  has  been  added  to 
it.  It  is  used  to  prevent  lakes  from  livering. 
This  is  an  article  which  cheapens  your  product 
without  deteriorating  it  or  detracting  from  its 
merit.  Every  paint  is  improved  by  this  ma- 
terial when  used.  An  actual  test  will  convince. 
As  another  instance,  take  chrome  yellow  or 
chrome  green  and  add  10  per  cent,  of  Lake 
Base  to  your  mixture  and  paint  a board  and  ex- 
pose this  board  for  six  months.  At  the  same 
time  paint  a board  with  the  same  material  with- 
out the  Lake  Base  and  expose  it  for  the  same 
length  of  time  and  you  will  find  that  the  color 
containing  the  Lake  Base  will  appear  brighter 
and  fresher  than  that  in  which  it  has  not  been 
used.  Price  of  the  Lake  Base  is  4c.  per  lb.  in 

ton  lots. 

We  have  herewith  shown  you  a few  of  our 
leading  dry  pigments,  of  which  we  have  an  as- 
sortment of  about  700  colors.  Send  us  sample 
or  tell  us  what  you  want  matched  and  we  will 
gladly  respond  to  the  best  of  our  ability,  and 
feel  certain  that  we  can  make  it  of  interest  to 

you. 

The  foregoing  prices  are  for  original  pack- 
ages*. for  kegs  add  1c.  a lb.,  for  boxes  2c.  a lb. 


THE  CHEMISTRY  OE  COLORS. 


HISTORICAL  AND  TECHNICAL  ACCOUNT 
OF  THE  CHEMICAL  PAINTS. 


Lecture  before  the  College  of  Pharmacy  of  the  City 

of  New  York. 


AT  a stated  meeting  of  the  College  of  Phar- 
macy of  the  City  of  New  York,  held  in  the 
college  building  on  Tuesday  evening,  Janu- 
ary 20,  1903,  Dr.  Maximilian  Toch  delivered 
4 a lecture  on  “The  Chemistry  of  Well-Known  Col- 
ors,’’ illustrating  the  chief  points  in  his  paper  by 
experiments  and  colored  lantern  slides.  The  lan- 
tern slides  exhibited  by  him  included  pictures  of 
butterflies,  fruits,  flowers,  etc.,  artistically  executed 
and  beautifully  colored  with  anilines,  showing  the 
wonderful  variety  and  delicacy  of  tints  and  colors 
obtained  from  this  source. 

In  introducing  his  subject  Dr.  Toch  made  allusion 
to  the  popular  definition  of  the  word  paint.  “When 
the  word  paint  is  used,”  said  he,  “the  general  and 
popular  impression  is  that  it  is  some  color  which  is 
used  as  a decorative  or  protective  coating  on  the 
wood  or  iron  work  of  buildings.  It  is  quite  true 
that  large  quantities  of  paint  are  used  for  such  pur- 
poses, but  taking  it  all  in  all,  the  amount  of  paint 
consumed  on  houses  and  structural  work,  which  is 
by  far  larger  here  than  in  any  other  country,  is  not 
by  any  means  the  largest  consumption  of  paint  itself, 
even  though  almost  every  city  or  town  has  its  paint 


4i 


factory.  Paint  is  used  in  large  quantities  for  the 
manufacture  of  oilcloth,  rubber  goods,  table  oil- 
cloth, window  shades,  wagons,  boats,  railroad  cars, 
wall  paper,  linoleum,  printing  ink,  etc.  The  con- 
sumption of  house  paint  is  much  smaller  in  pro- 
portion to  the  consumption  of  paint  for  the  manu- 
facturing industries.”  Speaking  of  the  manufacture 
of  chemical  paints  used  as  raw  materials  from  which 
which  finished  colors  are  made,  he  said : 

“These  chemicals  or  raw  materials  are  ground  in 
a suitable  medium  or  vehicle,  such  as  oil,  varnish, 
water  and  the  like,  and  they  then  form  oil  colors, 
varnish  colors,  distempter  colors,  enamels,  etc., 
Upon  the  property  of  the  raw  material  depends  the 
permanency  of  the  finished  colors,  and  as  a great 
many  colors  or  pigments  have  inherent  defects,  it  is 
the  object  of  the  paint  manufacturer  continually  to 
improve  his  products  and  omit  those  that  are  de- 
fective. 


THE  ANCIENT  METHOD  OF  MAKING 

WHITE  LEAD. 

“The  first  and  the  best  known  of  the  paints  is 
white  lead,  and  it  is  a strange  fact  that  the  old 
method  of  making  white  lead,  known  as  the  Dutch 
method,  is  still  in  vogue  to-day,  with  perhaps  slight 
modifications.  The  Romans  and  the  Greeks  used 
the  native  carbonate  of  lead,  known  as  the  mineral 
cerusse  or  cerusite,  and  the  French  name  for  white 
lead  is  still  cerusse.  The  method  of  making  white 
lead  by  the  aid  of  vinegar  and  spent  tan  bark  was 
patented  as  far  back  as  1622,  and  was  supposed  to 
have  originated  in  Holland,  hence  it  is  known  as  the 
Dutch  method.  An  earthenware  pot  is  used,  which 
resembles  a crucible,  and  in  this  pot  is  a little  she 
about  half  way  up,  on  which  buckles  of  lead  are 
placed,  a small  quantity  of  weak  acetic  acid  or  vine- 
gar being  placed  in  the  bottom  of  the  pot.  Hun- 
dreds, or  perhaps  thousands,  of  these  pots  are  placed 
in  a chamber  which  is  entirely;  closed  up.  The  tan 
bark  begins  to  ferment  and  gives  off  quantities  ot 
carbonic  acid  gas ; the  vinegar  is  vaporized  and  at- 


tacks  the  lead ; the  carbonic  acid  then  slowly  changes 
the  blue  lead  into  a carbonate  lead,  and  at  the  end 
of  three  months  the  corrosion  is  fully  completed  and 
the  white  hydrated  carbonate  of  lead  is  formed. 


THE  NEW  METHOD  OF  MANUFACTURE. 

“There  are  any  number  of  these  methods  and  like- 
wise a number  of  new  methods  of  manufacture,  but 
it  is  a question  which  has  been  disputed  time  and 
again  whether  the  new  methods,  which  are  called 
‘quick  process,’  produce  better  white  lead  than  the 
old  method.  The  new  methods  may  be  simply  de- 
scribed as  being  the  formation  of  lead  carbonate 
from  the  solution  of  lead  salt  and  carbonic  acid.  I 
show  you  here  the  manufacture  of  white  lead  by 
what  is  known  as  the  wet  method,  which  is  very 
simple,  and  under  certain  circumstances  produces  a 
very  excellent  product.  This  method  was  patented 
by  Noble,  under  the  name  of  the  Thenard  process 
in  1808.  The  manufacture  of  white  lead  by  the  old 
method  is  in  itself  a poisonous  one,  and  it  is  an 
interesting  fact  that  in  one  of  the  short  stories  writ- 
ten by  Charles  Dickens,  called  ‘A  Bright  Star  in  the 
East,’  he  describes  a visit  to  one  of  the  white  lead 
plants  in  the  East  End  of  London.  This  story  was 
written  in  1850,  after  his  first  visit  to  America,  and 
he  asserts  in  it  with  some  degree  of  conviction  his 
belief  that  American  ingenuity  would'  overcome  the 
danger  to  the  workmen.  It  is  a gratifying  fact  to 
record  that  in  American  white  lead  works  lead 
poisoning  is  almost  unknown* 


THE  DEFECTS  OF  WHITE  LEAD  AND  THE 
ADVANTAGES  OF  ZINC  OXIDE. 

“White  lead  has  the  one  defect  that  it  will  not 
stand  sulphurous  gas  of  any  kind,  and  it  blackens 
very  readily  when  subjected  to  the  fumes  of  sul- 
phuretted hydrogen.  I show  you  the  effect  of  the 


43 


sulphuretted  gas  on  white  lead,  and  you  will  imme- 
diately notice  that  it  turns  it  from  a brilliant  white 
to  a dirty  brown.  This  is  the  reason  why  zinc  oxide 
is  so  largely  used  for  the  painting  of  stables  and 
outhouses,  and  the  walls  of  rooms  where  perman- 
ency in  whiteness  is  desired. 

“The  use  of  zinc  oxide  within  the  last  twenty  years 
has  increased  enormously,  and  it  appears  that  its  use 
will  increase  still  more.  It  remains  white,  and  is 
not  affected  by  the  sulphur  gases,  for  the  reason  that 
its  suphide  is  white.  The  French  method  for  mak- 
ing zinc  oxide  is  by  the  direct  oxidation  of  the  metal- 
lic zinc.  The  American  method  is  by  the  direct 
calcining  of  the  zinc  ore,  and  I exhibit  a piece  of 
enamel  cloth  made  entirely  of  zinc  oxide.  The  new 
zinc  paint  is  a sulphide  made  by  the  double  decom- 
position of  zinc  sulphate  and  barium  sulphide.  This 
material  is  sold  under  the  name  of  Oleum  white, 
Beckton  white,  Charlton  white  or  Lithopone  and 
possesses  a great  many  advantages,  particularly  for 
the  manufacture  of  linoleum  and  oilcloths.  It  is 
not  acted  on  by  sulphuretted  hydrogen  because  it  is 
completely  saturated  with  sulphur. 


CHROME  YELLOWS. 

“If  a solution  of  lead  acetate  and  potassium  bi- 
chromate be  mixed  together  a lead  chromate  is 
formed  of  a medium  shade.  If  an  acid  such  as 
sulphuric  or  citric  be  added  to  the  potassium  bi- 
chromate a lemon  of  a pale  shade  is  produced, 
an  alkali  such  as  lime  or  potash  be  added  an  orange 
shade  is  produced,  and  thus  we  have  the  range  from 
a lemon  yellow  to  a deep  orange  made  in  the  manner 
described.  In  the  manufacture  of  all  precipitated 
colors  the  concentration  and  temperature  of  the 
solutions  and  the  speed  with  which  the  solutions  are 
combined  have  a remarkable  influence  on  the  shade 
and  fineness.  Therefore  if  we  take  concentrated 
solutions  and  throw  them  together  rapidly  we  pro- 
duce heavy  and  dull  looking  shades,  and  if  we  have 
cold  solutions  which  are  very  dilute  and  which  are 


allowed  to  come  in  contact  very  slowly  we  have  bril- 
liant and  light  gravity  colors. 

“In  the  manufacture  of  chemical  colors  it  may  be 
opportune  to  state  that  it  is  necessary  to  make  solu- 
tions in  their  atomic  proportions  so  that  no  waste 
occurs.  One  hundred  pounds  of  lead  acetate  will 
require  thirty-nine  pounds  of  potassium  bichromate, 
so  that  the  precipitate  forms  lead  chromate  entirely 
and  the  supernatant  liquid  forms  potassium  acetate. 

“Of  the  greens  I shall  speak  after  I have  dis- 
cussed some  of  the  blue  pigments,  because  the  greens 
are  chiefly  a mixture  of  the  blue  and  yellow.  Cad- 
mium sulphide  is  a very  expensive  yellow  color, 
ranging  in  price  from  $3  to  $8  a pound.  It  is  used 
nowadays  only  as  an  artists’  color  for  painting  pic- 
tures. It  is  made  by  the  addition  of  a sulphide  to 
the  cadmium  salt.  Chrome  yellow,  which  is  full  as 
strong  in  tinctorial  power,  ranges  in  price  from  15 
to  30  cents  a pound.  In  the  days  of  horse  cars  cad- 
mium yellow  was  used  as  a yellow  pigment  because 
the  sulphur  gases  of  the  stable  did  not  affect  it,  but 
the  trolley  car  has  supplanted  that. 


BLUES. 

“One  of  the  most  wonderful  pigments  made  is 
ultramarine  blue.  It  is  perhaps  the  first  synthetic 
color  ever  manufactured.  The  natural  ultramarine 
blue  is  a blue  mineral  (lapis  lazuli)  which  is  found 
in  Siberia,  Persia,  and  China,  and  is  only  for  decora- 
tive purposes.  It  was  formerly  used  for  painting, 
and  is  a most  perfect  pigment,  although  it  has  not 
very  much  body.  In  1828  both  Grunnet  and  Gmelin, 
of  France,  succeeded  in  making  an  artificial  ultra- 
marine  blue  which  equaled  lapis  lazuli  in  composi- 
tion. It  is  a very  strange  fact  that  the  products 
which  go  in  the  manufacture  of  ultramarine  blue 
possess  no  characteristics  of  the  finished  material. 
Briefly  stated,  when  a mixture  is  made  of  china 
clay  (aluminum  silicate),  sodium  carbonate,  sodium 
sulphate,  sulphur  and  charcoal,  it  produces  a bril- 


45 


liant  blue,  which  is  largely  used  as  a wash  blue, 
in  making  blue  paper,  and  as  a permanent  pigment 
for  house  painting  and  for  making  printing  inks.  It 
cannot,  however,  be  used  in  conjunction  with  white 
lead,  because  the  sulphur  it  contains  is  likely  to 
blacken  the  lead.  It  is  a non-poisonous  color  and 
is  also  used  for  whitening  refined  sugar. 


“PRUSSIAN  BLUE 

Is  a mixture  of  a salt  of  iron,  and  it  depends  very 
largely  on  the  physical  condition  whether  a brilliant 
blue  or  a dull  blue  is  obtained.  It  is  a poisonous 
compound,  being  practically  a ferric  ferrocyanide  of 
iron.  Most  blues  are  made  with  iron  sulphate, 
which  first  produces  a whitish  precipitate,  and  this  is 
then  oxidized  with  nitric  acid  or  potassium  chlorate 
or  bleaching  powder.  The  various  grades,  which 
all  have  about  the  same  purity,  but  differ  largely  in 
their  tone,  are  sold  under  the  name  of  Prussian  blue, 
steel  blue,  Chinese  blue,  milori  blue,  bronze  blue, 
etc.  Prussian  blues  are  the  basis  of  all  the  chrome 
greens  of  commerce,  which  are  made  by  the  addi- 
tion of  any  of  these  blues  to  chrome  yellow.  In 
practice,  however,  the  blues  are  not  made  separately, 
but  the  lead  salt,  the  iron  salt,  the  yellow  prussiate 
of  potash  and  the  bichromate  of  potash  are  precip- 
itated alternately.  The  Prussian  blue  and  the 
chrome  greens  are  very  permanent  colors,  and  work 
well  in  conjunction  with  white  lead.  Ultramarine 
blue  does  not  work  well  with  white  lead,  as  the 
sulphide  is  likely  to  combine  with  the  lead  and 
blackens  it.  Therefore,  in  making  blue  tones  with 
lead  it  is  necessary  to  use  Prussian  blue.  Ultrama- 
rine and  Prussian  blue  both  work  well  with  zinc. 
Prussian  blue  has  a peculiar  property,  it  being  sol- 
uble in  linseed  oil  at  a temperature  above  400  de- 
grees. It  converts  the  oil  into  an  extremely  elastic 
and  glossy  varnish.  This  varnish  is  used  entirely 
for  making  patent,  or  enamel,  leather,  and  black 
enameled  oilcloth.  It  is  found  in  practice  that  an 


46 


imitation  of  Prussian  blue,  known  as  japanners’ 
brown,  can  be  made  by  the  decomposition  of  Chinese 
blue  at  a high  temperature  in  the  presence  of  car- 
bonic acid  gas.  It  makes  a much  more  permanent 
film  of  linseed  oil  than  Prussian  blue  or  Chinese 
blue. 


LAKES. 

“Brilliant  pigments  which  are  more  or  less  trans- 
parent, and  generally  made  from  organic  dyes,  pre- 
cipitated or  mineral  bases,  are  termed  ‘lakes,’  and  the 
oldest  and  perhaps  best  known  of  these  lakes  is  car- 
mine. Carmine  has  been  known  for  three  centuries. 
It  is  the  coloring  matter  of  the  dried  cochineal  bug, 
which  is  preciptated  with  alumina.  This  coloring 
matter  is  practically  an  acid,  which,  combined  with 
alumina,  forms  an  alumina  lake.  Pure  carmine  is 
completely  soluble  in  ammonia  and  is  non-poisonous. 
In  former  years  it  was  used  to  a very  large  extent 
as  a decorative  paint,  but  the  aniline  colors  have 
practically  driven  it  out.  It  is,  however,  used  as  a 
coloring  matter  for  candies  and  syrups.  The  aniline 
lakes  are  all  precipitated  in  much  the  same  way  as 
carmine,  depending,  however,  largely  on  their  chemi- 
cal compositions.  Some  are  treated  with  chloride 
of  barium,  some  with  tannic  acid,  some  with  lead 
salt  and  some  are  developed. 

“When  coal  tar  is  distilled  one  of  the  first  de- 
rivatives is  known  as  benzole,  and  is  well  described 
in  the  benzine  series.  When  this  benzole  is  treated 
with  nitric  acid  nitro-benzole  is  formed,  and  when 
nitro-benzole  is  again  treated  with  iron  in  the 
presence  of  hydrochloric  acid  an  aniline  oil  is  then 
produced  which  is  the  progenitor  of  certain  aniline 
colors.  The  subject  of  aniline  colors  is  too  vast  for 
extended  reference  here.  Many  of  them  are  acted 
upon  by  acids  and  alkalies  only  to  form  different 
colors ; some  of  them  are  developed  and  others,  are 
made  by  direct  fusion  and  melting,  and  still  others 
are  made  synthetically  by  low  temperature  in  the 
presence  of  ice.” 


47 


PAINT-MAKERS’  VEHICLES. 


THE  best  paint  in  the  world  can  be  de- 
stroyed by  the  use  of  japan,  and  firms 
who  thought  they  knew  how  to  make 
paint  have  from  time  to  time  had  complaints 
and  their  goods  returned.  While  they  used  the 
purest  linseed  oils,  turpentine,  oxide  of  zinc, 
carb.  of  lead,  etc.,  they  could  not  possibly  per- 
ceive why  their  paint  cracked  and  faded.  Now, 
under  positive  scientific  researches,  we  can  state 
that  the  dangerous  articles  known  as  japan  or 
liquid  dryers,  have  been  the  cause  of  the  in- 
stability of  their  otherwise  pure  paint.  After 
much  experimenting,  practical,  chemical  and 
scientific,  we  have  placed  on  the  market  our 
“Flex  Sicco  Japans.”  Here  you  have  a japan 
which  will  not  curdle  the  oil,  which  mixes  freely 
with  it,  which  does  not  destroy  the  lustre  of  the 
oil,  and  preserves  the  elasticity.  Destroy  the 
elastic  quality  of  the  oil,  your  paint  is  bound  to 
peel,  crack  and  chalk.  Harmful  dryers  have 
been  the  cause  of  so  much  paint  turning  out 
poorly.  For  general  mixed  paint  manufac- 
turing, we  offer  our  Flex  Sicco  Japan  at  75c.  per 
gallon.  Our  special  Flex  Sicco  Japan  for  japan 
color  grinding  at  90c.  per  gallon,  and  the  best 
grade  of  Flex  Sicco  shellac  japan  that  is  made 
at  $1.30  per  gallon. 


48 


ENAMEL  VARNISHES. 


WE  offer  you  a line  made  as  scientifically 
correct  as  our  Flex  Sicco  Japan, 
ranging  in  price  from  65c.  to  $3.50 
per  gallon.  A good  average  article  at  90c.  per 
gallon,  and  one  that  will  rub  and  polish  at  $1.30 
per  gallon.  Some  of  our  customers  make  a 
mixture  of  the  90c.  and  the  $1.30  grade,  some 
of  the  65c.  and  $1.30  grades.  If  you  are  in 
search  of  an  enamel  varnish  for  ordinary  house 
work,  etc.,  the  65c.  does  wonderfully  well. 


49 


FLOOR  PAINT  HARDENER. 


HERE  is  another  scientific  and  technical  var- 
nish that  has  caused  us  to  experiment 
long  and  carefully.  We  make  a line  of 
floor  paint  Varnishes  that  are  wonderfully 
elastic  and  durable.  The  cheapest  of  this  kind 
is  65c.  per  gallon,  another  at  85c.  and  another 
at  51.05.  Our  best  grade  is  51.35,  which  is  a 
floor  finish  and  hardener  combined. 


TOKAURI  MIXING  VARNISH. 


THIS  is  a high  grade  of  mixing  coach  var- 
nish used  when  wear  and  tear  are  ex- 
pected, combined  with  the  appearance. 
Price  of  this  is  $1.30  per  gallon. 


5i 


WHITE  JAPAN. 


THIS  has  been  the  stumbling  block  of  all 
varnish  makers.  We  offer  you  the  low- 
est priced  of  our  white  japan  at  75c.  per 
gallon,  and  the  white  Flex  Sicco  shellac  japan  at 
$1.30  per  gallon,  and  can  safely  say  that  no 
other  varnish  house  has  ever  succeeded  in  plac- 
ing an  article  like  this  on  the  market,  although 
it  had  been  attempted  for  years.  In  this  descrip- 
tive pamphlet  we  shall  not  mention  the  other 
varnishes  we  make,  such  as  Furniture,  Cabinet 
Rubbing  and  Polishing,  Hard  Oil  Finish,  etc., 
confining  ourselves  to  those  articles  used  in 
good  paint  making. 

We  stand  prepared  to  supply  you  with  as 
small  a quantity  as  you  may  order,  so  that  you 
can  make  your  tests,  offering  you  our  assistance 
as  stated  in  the  preface  of  this  booklet. 

When  you  consider  that  since  1848  we  have 
constantly  striven  to  put  upon  the  market  the 
best  materials  for  good  paint  making,  we  feel 
reasonably  certain  that  you  will  have  every  rea- 
son to  feel  safe  in  giving  us  your  valued  orders 
for  pigments  and  vehicles. 


FLEX  SICCO  ENAMEL  VARNISH. 


ATRIAL  will  convince  you  that  this  varnish 
is  really  perfection.  Not  alone  does  it 
dry  hard  and  with  an  extreme  gloss 
when  mixed  with  zinc,  yet  it  is- not  brittle  and 
has  a flexibilty  that  has  never  been  known  to 
exist  in  any  varnish  of  this  kind.  The  very 
finest  enamel  paints  in  the  world  can  be  pro- 
duced by  this  material. 

Price  $2.50  per  gallon.  Special  figure  in 
large  lots. 

The  above  sample  of  Flex  Sicco  Enamel 
Paint  is  made  with  Flex  Sicco  Enamel  Varnish 
and  painted  on  cloth.  Bend  it  and  note  its 
wonderful  elasticity.  It  disproves  the  general 
idea  that  all  Enamels  must  be  brittle. 

In  France  and  England  there  are  Enamel 
Paints  made  that  sell  at  $6  per  gallon.  Some 
of  these  are  imported  and  used  here. 

You  are  now  in  position  to  make  these  goods 
out  of  our  products,  and  make  them  better  and 
for  much  less.  Experiment  with  our  Flex 
Sicco  Enamel  Varnish.  You  will  soon  adopt 
it  and  make  money  and  fine  goods. 


53 


CONTINUED  research  on  our  part,  we  be- 
lieve, will  result  in  new  pigments  and 
vehicles  from  time  to  time.  It  is  our 
intention  to  describe  them  fully  to  you  when 
we  are  satisfied  that  they  are  of  value  to  you. 
We  therefore  request  you,  in  order  to  help 
make  this  work  complete,  to  reserve  the  follow- 
ing pages  marked  addendum  for  the  new 
samples  and  information  that  we  will  send  you, 
pasting  the  printed  matter  on  the  addendum 
pages. 

The  difference  in  packing  varies  from  time  to 
time  by  reason  of  cooperage,  and  that  is  why  we 
do  not  mention  how  heavy  the  barrels  are. 


54 


ADDENDUM 


ADDENDUM 


1 


